The six movements which make up this suite, are musically characterized
by features of Jewish folk and religious music. The minor tonalities,
as well as the use of mordants and turns in the melodic lines,
help to create the Jewish feel. The short movements can be grouped
in two categories. There are the dances (Chasidic Dance,
Hora and Circle Dance) which feature lively rhythms
based onfigures. Chasidic
Dance has a lilting quality while the others are more accented
and driving in nature. The three other movements of the suite
(Cantorial Chant, Lullaby, and Dialogue) contrast
with the dances. They are slower in tempo with a more sustained
and legato quality. The suite ranges in mood from the opening
meditative and rhapsodic chant to the joyous middle dances. The
calmer and more static movements which follow, lead to the bright
and exciting final dance.

The main keys employed for the movements of the suite include
E minor, A minor, G minor, B flat minor, D minor and C minor.
The melodies all have specific features which distinguish and
yet connect them. Cantorial Chant uses triadic lines with
a repeated note figure in flowing, irregular phrases. Chasidic
Dance, although similar in melodic character, has shorter
phrases with a more structured feel. Hora features an ascending
fourth in short rhythmic phrases. The fourth is also characteristic
of Lullaby, which has repeated notes in short, two-bar
phrases. The main motif of Dialogue uses a fourth and a
third interval while Circle Dance displays the interval
of a second with repeated notes. Both have short phrases. Three
of the movements use mixed metres: Hora uses,and;
Dialogue employsandwhile Circle
Dance combines,,and. The piano accompaniment
supports the clarinet with either linear and sparse textures,
as in the first two movments, or with heavier, fuller chords as
in the third and fourth movements. The piano matches the variety
of clarinet styles in all of the movements, except for Dialogue,
where it becomes the musically agitated partner. The accompaniment
of the last movement combines many of these ideas while introducing
an ostinato feature to accent the dance. In all six movements
of the suite, the piano has an important melodic role and enhances
the overall effect of the work.

Technical Challenges of the Clarinet Part

The suite requires a range of articulation styles. In the first
and fourth movements, legato tonguing is extremely important to
the style. This technique challenges the players control.
This is particularly difficult in the chant because of the many
repetitions on one note. In the third and sixth movements, a more
staccato articulation is demanded, becoming especially difficult
in the clarion and altissimo registers. Circle Dance also
requires accented tonguing and uses complicated articulation patterns
throughout, although there are basic patterns which repeat.

e.g.

There are particular breathing challenges in most of the movements
of this suite. The opening chant is demanding because of its long
phrases. Good air support is needed in the first and fourth movements
in order to sustain the legato style. This is important throughout
Lullaby, because it centres around the throat notes and
the lower break area. Passages in this same range need attention
in theCantorial Chant. Both of these movements have an
extremely long phrase at their conclusion, demanding good breath
control. In the third and sixth movements, full air support is
required in order to play in the staccato style. The air stream
must keep moving for the passages surrounding the lower and higher
breaks. Circle Dance requires quick breaths which can be
taxing on the player.

The dance movements call for a brighter tone quality which
needs attention in the clarion and altissimo registers so that
the sound does not become too shrill or piercing. The other three
movements demand a mellower tone. In Dialogue, the passages
in the clarion register need focus in order to maintain the mellow
tone colour. The F sharp minor tonality found in Cantorial
Chant creates difficulties for tone control and fingering.
Passages involving turn figures, as six or three notes in the
time of one, use the keys around the lower break, causing problems
for intonation. There is also one section of passage work which
is difficult because of the D sharp and the necessity of using
the entire right hand for finger motion.

e.g.

The dances are more difficult for fingering because of the
faster tempos. This creates problems for the player in those passages
involving wider leaps around the breaks. Hora concludes
by shifting the same phrase through the three registers, making
it a challenge for finger co-ordination. CantorialChant
and Dialogue also contain some register shifts resulting
in intricate fingerings. The suite concludes with an exciting
transfer from the clarion to the altissimo register. This procedure
must be controlled in order to finish well. The brief modulations
occurring in most of the movements create sections with awkward
fingerings. In Circle Dance the sections in the chalumeau
register may require some attention to projection because the
accompaniment is very heavy and repetitious. The louder dynamic
range used in the last movement is demanding due to the air support
needed and the necessary control of the tone colour. In the first,
second and fifth movements, a quieter dynamic range is explored.
This is difficult when playing passages in the throat tones and
in the higher clarion register while maintaining proper intonation.
An effective use of sub-tone may be achieved in the final pattern
of Hora. In Circle Dance and Hora, attention
should be given to intonation in passages using the higher clarion
and altissimo registers because of the dynamic levels. Endurance
is needed for playing the movements of this suite because they
require such a variety of techniques.

Use of the Musical Qualities of the Clarinet

Suite Hébraique exploits several different qualities
of the clarinet. Lilting mordants and flourishing turn figures
enhance the style. There are moments of lyricism and sonorous
melodic lines. Fluid,legato sections contrast with punctuated,
rhythmic passages. The interest of this piece centres around the
manner in which the many musical aspects display the instruments
versatility.

Benefits to the Students

This work can provide opportunities to explore Jewish music.
Listening to a live or recorded performance of this suite will
help the student to absorb the musical flavour of this style.
The suite provides an opportunity for the clarinet player to work
as a partner with the piano accompanist to create the music. Switching
between styles of playing stretches the students ability
as a performer. The hard work needed to learn to play the complete
suite is a worthwhile musical endeavour.

SIMEONOV, BLAGO

MONODY

Instrumentation: Clarinet with optional Piano

Publisher: Waterloo Music Co. Ltd.

Date: 1973 (published)

Recording: CMC-T, cassette 960

Musical Source: Original

Duration: 4:00

Range:

Level: Medium Difficult

Musical Features of the Repertoire

As the title suggests, this piece has many features reminiscent
of the style of recitativo secco from Baroque opera. The clarinet
line is a free melody written in an improvisatory form. There
is no time signature and no feeling of strict metre. There are
patterns of unstemmed notes, leaving the player free to improvise
the rhythm. The tempo is slow and the markings of accelerando
and ritenuto add to the expressiveness. The piano supports
the clarinet line with sustained chords that create a bagpipe-like
drone and with punctuations of the dynamics. The piano has free
improvisatory sections. The piece would be effective, though,
as an unaccompanied solo. The atonal harmony centres around a
three-note motif in the melody.

e.g.

Intervals of thirds and fourths are important to the shape
of the melody. Phrases are long and based on slurring. This helps
to create the rhapsodic, dreamy mood.

Technical Challenges of the Clarinet Part

The nature of this piece presents some difficulties to the
performer. The long unmetered phrases require full air capacity
in order to sustain the free legato style. Melodic motifs, particularly
at clarinet entrances, often use the throat notes. These pose
some problems for intonation especially at a piano dynamic
which occurs frequently. There is a passage in the middle of the
piece which features register shifts from the clarion to the chalumeau
register. These shifts result in awkward fingerings and are more
challenging because the notes are slurred. There is a great temptation
to change the shape of the embouchure in this type of figure.
This piece frequently employs the altissimo register. Some passages
involve the grouping of notes and a forte dynamic which
creates a playable approach. There are some consecutive phrases,
however, which begin on and descend from an individual note in
the altissimo register. The challenge here involves securing a
clean, clear start to the sound. The player is assisted by the
forte dynamic and the length of the note. Endurance is
a definite factor to consider in performing this piece. The breath
control, and the few rests which allow the embouchure to be relaxed,
are taxing on the players stamina. This problem would be
augmented if this piece was performed unaccompanied.

Use of the Musical Qualities of the Clarinet

This piece is reminiscent, in tone and nature, of the impressionistic
style of Poulencs Sonata for Clarinet and Piano.
There are opportunities for lyrical singing in the altissimo and
chalumeauregisters. The variety of dynamics is an important
expressive element in the music. The sections where the dynamics
build gradually are effective. There is smooth fluid movement
over the full clarinet range. Grace notes are used to embellish
the melody and some passages are shaped by an unusual idea --
accelerando is used to descend into the chalumeau range
and ritenuto is employed when moving back into the altissimo
range.

Benefits to the Student

While this piece requires imagination and a sense of liberty,
it also demands that the player be confident and take charge of
the music-making. Although it might appear difficult at the beginning
of the learning process, the pauses and the non-restrictive style
make the piece playable. Once learned, the piece should be a pleasing
musical experience.

WUENSCH, GERHARD

VARIATIONS (Op. 52)

Instrumentation: Clarinet and Piano

Publisher: E.C. Kerby Ltd.

Date: 1985 (published)

Recording: None

Musical Source: Original

Duration: 4:30

Range:

Level: Medium Difficult

Musical Features of the Repertoire

The folk-like melody, characterized by the raised third and
natural seventh of the minor tonality, undergoes several styles
of variation. There are rhythmic, playful variations which contrast
with the slower melodic ones. The tempo fluctuates between slow
and lively speeds which are directed by metronome markings. Interest
is also created through harmonic modulations and the interplay
between the clarinet and the piano. The role of the accompaniment
varies as it provides a chordal support or a more intricate moving
line which fills out the clarinet part. At times the piano part
provides a contrast in speed and articulation as it executes the
important transitions into new sections. This piece, which is
classical in style, returns to its opening, plaintive theme as
it comes to a conclusion.

Technical Challenges of the Clarinet Part

The overall challenge in this piece is playing in a variety
of styles. Staccato tonguing is required as well as quick finger
movements for the more rhythmic variations. The articulation patterns
can become intricate and therefore need practice.

e.g.

Some of the rhythmic sections contain leaps that are greater
than a fifth. These are demanding due to the faster tempi. Note
patterns using the altissimo register are often quicker and need
careful attention to maintain a focussed tone. Some of the modulations
result in the use of sharpened accidentals causing the clarinet
tone colour to brighten. These sections need more concentration
in order to maintain a mellow tone colour. Moving away from the
A minor tonality necessitates the use of many keys on the instrument,
creating more awkward fingerings. Intonation could be problematic
in the passages using the throat tones and moving over the lower
break.

e.g.

The variety of dynamics is a challenge to a player for there
is constant activity. The levels range from sf to the use
of sub-tone in diminuendos. Control of the tone takes effort
particularly when sf is demanded around the throat tones
or in the altissimo register.

Use of the Musical Qualities of the Clarinet

In this piece the versatility and the personality of the clarinet
are shown through slower, legato melodies and accented rhythmic
patterns. This contrast is enhanced by the use of the full dynamic
range of the instrument. The folk-like nature of the main theme
is enhanced by an unaccompanied clarinet presentation of the theme
at the beginning of the piece.

Benefits to the Student

A variety of playing and musical styles expand musical knowledge
and challenge the student to learn the flexibility required in
the mastery of this piece. The opening solo line sets the tone
and demands that the student take responsiblity for a strong and
controlled beginning. The clarinet line blends well with the piano,
requiring a strong partnership between the two performers. The
study of these variations provides a musically enriching experience.